- Born:
- c. 1535, Huamanga? [Peru]
- Died:
- c. 1615, Huamanga?, Viceroyalty of Peru
Felipe Guamán Poma de Ayala
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Who was Felipe Guamán Poma de Ayala?
Felipe Guamán Poma de Ayala (c. 1535–1615) was an Inca nobleman known for writing and illustrating El primer nueva corónica y buen gobierno (1612–15), or “The First New Chronicle and Good Government”.
Born shortly after the Spanish conquest of Peru, Guamán Poma received an education from his mestizo priest half-brother and Mercedarian friar Martín de Murúa.
His 1,189-page Nueva corónica blended historical accounts, epistles, sermons, portraits, and more, and it used both text and images to highlight the clash between Inca and Spanish cultures. Written in Spanish, Quechua, Aymara, and Latin, it was intended for King Philip III of Spain, in the hopes of informing the King of the history of Andean civilization and the damages of Spanish colonial rule.
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What is Felipe Guamán Poma de Ayala best known for?
Felipe Guamán Poma de Ayala, an Inca nobleman, is best known for writing and illustrating El primer nueva corónica y buen gobierno (1612–1615), also known as The First New Chronicle and Good Government. This 1,189-page work, including 398 drawings, is a critical account of Spanish rule in Peru intended for King Philip III of Spain.
In it, Guamán Poma shares the history of Andean civilization and his view of the damage done by Spanish colonial rule. The book blends historical chronicle, epistle, sermon, portraiture, and historical representations. He wrote in Spanish, Quechua, Aymara, and Latin, utilizing European notions of space, composition, and figural representation, while incorporating Inca metaphysical and social concepts.
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What was the importance of Guamán Poma de Ayala’s book, 'El Primer Nueva Corónica y Buen Gobierno'?
El primer nueva corónica y buen gobierno (translated in abridgement as Letter to a King) by Felipe Guamán Poma de Ayala, is a critical account of Spanish rule in Peru. Written between 1612 and 1615, the 1,189-page work, including 398 drawings, blends historical chronicle, epistle, and sermon genres.
Addressed to King Philip III of Spain, Guamán Poma hoped to share the history of Andean civilization and his view of the damage done by Spanish colonial rule. He accuses the Spanish of not abiding by their own Christian doctrine and demands the restoration of native leaders to local rule. Written in faulty Spanish, laced with Quechua words and syntax, its authentic tone provides descriptions of native customs and practices.
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How did Guamán Poma de Ayala combine illustrations and writing in his book?
Felipe Guamán Poma de Ayala combined illustrations and writing in El primer nueva corónica y buen gobierno to critique Spanish rule in Peru. His book contains 1,189 pages with 398 drawings and blends Western and indigenous styles, mirroring the convergence of Inca and Spanish cultures after the conquest.
Guamán Poma used both text and images as rhetorical tools. His illustrations utilized European notions of space but retained a simple line, connecting them to Inca textiles. Additionally, he incorporated complex Inca metaphysical and social concepts, such as dividing the world into four parts using intersecting diagonal lines.
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What problems or injustices did Guamán Poma de Ayala describe about Spanish rule in Peru?
Felipe Guamán Poma de Ayala, an Inca nobleman, detailed the injustices of Spanish rule in his illustrated chronicle El primer nueva corónica y buen gobierno. Written between 1612 and 1615, the book was addressed to King Philip III of Spain, with the intention of sharing the history of Andean civilization, and to expose the damage done by Spanish colonial rule.
Guamán Poma described how Spanish rule had turned Peruvian society upside down. He used both text and images to highlight the clash between Inca and Spanish cultures. While he drew on Western literary genres and wrote in multiple languages, including Spanish and Quechua, his illustrations melded Spanish and indigenous styles, incorporating complex Inca social concepts.
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How has Guamán Poma de Ayala’s work helped people today understand Inca and colonial history?
Felipe Guamán Poma de Ayala, an Inca nobleman, authored and illustrated El primer nueva corónica y buen gobierno between 1612 and 1615. This extensive work, discovered in the 20th century, offers a critical perspective on Spanish colonial rule in Peru.
Guamán Poma's writings and 398 drawings blend Spanish and indigenous styles, providing insights into Inca society, metaphysical concepts, and social structures. Written in Spanish, Quechua, Aymara, and Latin, his work reflects the merging of cultures after the conquest. His illustrations incorporated complex Inca metaphysical and social concepts.
His work accuses the Spaniards of not abiding by their own Christian doctrine, which he himself has adopted, and demands the restoration of native leaders to local rule. Today, his chronicle is a valuable resource for understanding Andean civilization and the impact of Spanish rule, contributing significantly to modern knowledge of Andean society.
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Felipe Guamán Poma de Ayala (born c. 1535, Huamanga? [Peru]—died c. 1615, Huamanga?, Viceroyalty of Peru) was an Inca nobleman who wrote and illustrated El primer nueva corónica y buen gobierno (1612–15; “The First New Chronicle and Good Government”), a critical account of Spanish rule in Peru.
Guamán Poma was born into a noble Inca family shortly after the Spanish conquest of Peru. He did not have formal training as an artist. His half brother, a mestizo priest, taught him how to read and write, and through contact with a Mercedarian friar and historian, Martín de Murúa, he apparently gained further education.
Guamán Poma worked as an administrator within the government of the viceroyalty. From 1594 to 1600 he represented his family in a land dispute, claiming land outside of the town of Huamanga. The case was decided in his favour several times, but he was eventually accused of misrepresenting his nobility and his claim. His punishment included 200 lashes and two years of exile from Huamanga.
This experience inspired him to work on behalf of other indigenous people involved in judicial suits and to create El primer nueva corónica y buen gobierno (translated in abridgement as Letter to a King). The work was begun about 1600 and finished between 1612 and 1615. It comprised 1,189 pages and included 398 drawings. The Nueva corónica was intended for the eyes of King Philip III of Spain, with whom Guamán Poma hoped to share the history of Andean civilization and his view of the damage that had been done by colonial Spanish rule. The work encapsulates the multiple issues at stake in the clash and convergence of Inca and Spanish cultures following the conquest. It blends multiple literary genres, including the historical chronicle, the epistle, and the sermon, with artistic genres that include portraiture, genre scenes, and historical representations. Both text and image are used as rhetorical tools throughout the Nueva corónica. The first two-thirds of the book is an attempt to convince the king of the nobility and sophistication of Andean civilization. The last third, the Buen gobierno, described Peru’s society as turned upside down by the Spanish.
While Guamán Poma drew on Western literary genres in his text, he wrote in multiple languages, including Spanish, Quechua (the language of the Inca), Aymara (another Andean language), and Latin. Like the use of language, the images that fill the Nueva corónica reflect the melding of Spanish and indigenous styles that resulted from the conquest. The artist utilized European notions of space, composition, and figural representation throughout the book but drew with a simple line, flattening and abstracting his forms in a way that is strongly tied to the geometric abstraction that decorates Inca textiles and ceramics. His illustrations also incorporated complex Inca metaphysical and social concepts. His Map of the Kingdom of the Indies, for example, utilizes European mapping techniques but imposes on these the Inca model of the universe in which the world is divided into four parts through the use of intersecting diagonal lines. He also locates Cuzco, the capital of the Inca empire but not of colonial Peru, at the centre of the map.
In other images Guamán Poma utilizes spatial composition in highly symbolic ways. In Inca society every town and every city was divided physically and socially into two halves or moieties, hanan (upper) and hurin (lower). These moieties were also associated with right and left, and the hanan was in some ways the privileged moiety. Throughout his text Guamán Poma uses these positions to represent power structures. The title page of the book, for example, shows the pope on the right-hand side of the page (the reader’s left), while the king kneels below on his left. Guamán Poma places himself only slightly below the king. The image suggests that religious authority supercedes royal power, and it asserts Guamán Poma’s authority as a historian to the king.
Guamán Poma claimed to be a devout Christian and included numerous religious images in the Nueva corónica. Some of the images confirm his piety but undermine Spanish authority. Spanish conquistadors often credited apparitions of saints with ensuring military victory during the conquest. Guamán Poma illustrates several of these miraculous appearances, but he depicts the saints themselves as the victors, with the Spanish completely absent. In The Miracle of Saint Mary, for example, the Virgin floats above a group of defeated Inca warriors. He suggests that God, rather than the Spanish, reigns supreme.
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It is unclear whether the Nueva corónica ever reached its intended audience. It is now housed in the Royal Library in Copenhagen, so at some point it did reach Europe, and there is evidence that it circulated at the viceregal court in Lima.